A Modern Handkerchief Act

..a, The Statc L!brar y of Victoria
ALMA CONJURING COLLECTION''

A

Modem Handkerchief

Ad:

An Up-to-Date Program of Selected Tricks with Handkerchiefs for
Magical Entertainers Playing Lyceum, Club or Stage Engagements

With

.>

Humorous Patter

For All Tricks Introduced in the Act, Accompanied by Instructions for
Gesture, Facial Expression and Intonation

£fo bu hie h is added

A Supplement

Explaining, and Illustrating with Diagrams, the Construction and
Preparation of the Apparatus, Faked Handkerchiefs and
Devices Employed and Their Mechanical Operation

Written by

Illustrated

By Forty Drawings
And Photo-Engravings

AMERICAN MAGIC CORPORATION

PUBLISHER — :

At the Studio —

The White Wizard

Other Books by the Same Author

“Export Billiard Ball Manipulation”
“Master Sleights with Billiard Balia”
'Bulletin of Latest Sleights and Tricks’
“Thirty-three Rope Tics and Chain Releases”
“The Business End of Magic; or, Making Magic Pay” *
“An Up-to-Date Card Act, with Patter”*
'Stagecraft for Magicians”

"The Book of Humorous Patter”

“Magic Tricks and Puzzles'”

“Good Things in Magic'”

“Impromptu Tricks'”

“Sealed Mysteries”

‘Sleight Sheets’

“Deviltry”

“Sleights”

* NOTH: Books followed by asterisk (*)

tn be issued subsequent to this volume.

AMERICAN MAGIC CORPORATION

LONG BEACH ESTATES BUILDING
405 LEXINGTON AVENUE
NEW YORK CITY

Copyright, 1915
American Magic Corporation

In Course of Publication

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Mail to the dealer who supplied this book.

To Author* # American Maple Corporation, incorporated under the

Laws of the State of New* York, capital $10,000, is in the
market for manuscripts on Magical Subjects. Manuscripts of between 12,000 and
40,000 words preferred, but subjects must be original (rehashes not wanted), and
handled in a tliwrouisMy practical manner. It should be borne In mind that these
publications reach a discriminating technical and professional reading public,
where elaborated literary verbiage !» undesirable, while condensed descriptions
with thorough Illustration by photographs or drawings are In demand.

Introduction .

Handkerchief Magic of all forms of the Art seems to be the most sought after by magical students. In
my work as a designer and writer of magical acts I was most repeatedly called upon to write Ildkf. Acts,
Ildkf. Patter, arrange acts or routine of ITdkf. Tricks and to make up outfits or apparatus for Ildkf. Acts.

The most constant demand has been for original methods of presenting the trick*, with accompanying
patter, and an arrangement, of the tricks in the form of an act of logical sequence. For it is notable that
the various Ildkf. Trick's and devices (and there is no dearth of them) consist largely of faked or specially
prepared Ildkfs. which cannot he used in other tricks. Thus the performer must lay down one prepared
handkerchief and pick up another, making the performance appear more like a demonstration than a smooth-
running entertainment developing toward a natural climax.

From the various acts I have from time to time designed along this line I have evolved the present act,
selecting a good part from this one and effective bit of presentation from another, and endeavored to blend
them into an effective whole, an act which combines as many strong points of showmanship with as little
trouble and labor in the way of preparation by the performer as possible.

There is some logic back of the demand for Ildkf. Acts. It is one of the most effective forms of magic,
for it is colorful, spectacular and cast/ to see from all parts of the house and is therefore more certain of
pleasing a wider range of audiences of varied character than any other individual magical act. The traveling
performer, the lyceum, Chautauqua or convention — even the club performer will find the Handkerchief Act
a program that is always " sure fire ” under most any conditions.

The numerous calls received by the publishers for the hook “Sleights with Silks” designed to compre-
hensively cover the subject of handkerchief tricks in a like manner to “Expert 11. 11. Manipulation" on its
subject, has led to the early publication of the present Act in the hope that it will satisfactorily meet the
immediate needs of those who are seeking an effective handkerchief program; while the more technical and
comprehensive volume is being completed.

Again expressing my sincere appreciation of the patronage and approbation accorded my writings by
the magical public in the past and the kind things said of them by reviewers in the magical and profes-
sional magazines, and hoping my present effort will not fall short of the standard they desire, I beg to bo
considered,

Most fraternally yours,

New York City, July 4, 191:1. BURLING G. G. HULL.

Nature of the Act.

The Handkerchief Act as considered here is not the Handkerchief Manipulation Act made popular
some time back, in which the performer entered empty handed and began with the production of a single
silk handkerchief, followed by a volume of other vari-colored handkerchiefs, which were tossed about as
rapidly as they were produced, until the stage was well sprinkled with them. The idea of the performer
spouting silks until the stage was covered with them held the public r s attention for a time as a novelty; but
only as a novelty; and like all other novelties it died an early death. A novelty is short lived, for there is
generally little real worth back of it, and with nothing to commend it blit its novelty it rapidly becomes a
bore once its novelty is worn away.

The Handkerchief Act presented here is really a logical, interesting magical entertainment first and
foremost; and simply using handkerchiefs as a medium in such a way as to secure the greatest amount of
amusement, mystery and entertainment possible.

COMPOSITION OF TIIE ACT.

From the various handkerchief acts I have written for patrons and students in the capacity of a
magical designer the present act has been evolved by the process of selecting a trick and a bit of patter here,
an effect or an idea of showmanship there and so on. I have endeavored to blend them into an effective
whole, to arrange and feature the tricks and parts so that they dovetail into an act of perfect sequence. This
has proved to be a labor far beyond my original expectations, for unlike writing to suit the taste, abilities and
conditions of one individual, it lias been necessary to consider the various requirements and conditions of per-
formance and the magical facilities of a wide range of readers, from club performers to stage artists. With
this in mind I have endeavored to evolve an act of general appeal and application and 1 have to that end found
it necessary to eliminate anything that would prove difficult or awkward for performers included within this
range.

I have described the position of the performer during the execution of the tricks, the patter, the vocal
inflection while rendering it and even the facial expression to accompany the remarks, entirely in addition to
the manipulation of the tricks, and invite the reader’s most careful observation of these points. For parts
of the act are extracts from my own programs and the importance of certain details on reading which, may
seem optional, will quickly develop when the trick is presented as described. It is oftentimes an opportune
remark, or the proper facial expression which turns the tide and makes a trick “hit.”

The actual working and construction of the tricks are fully explained in the “Supplement” which is
distinct from the text of the act. Here will he found detailed descriptions of all the tricks, devices and appa-
ratus introduced in the act and even the more familiar accessories which are undoubtedly known to the
majority of readers, but are explained for the sake of completeness and the assistance of those who may be
less informed.

S V P P L E V E V r

4

A SUGGESTED SETTING.

A suggested setting for the act is illustrated below. The tables are shown bare so as not to interfere
with a clear illustration of the unique design of the top.

B. H. Black Art Design. This design is mv own creation and I think it is superior to and
“cleaner” in appearance than those formerly used. At any rate I shall leave it to the judgment of the reader.
Some of the standard black art designs are also illustrated here so that the reader may select a suitable design,
and it is thought that he will find this new rectangular design which conforms to the lines of the rectangular
top far superior to the usual jumble of meaningless circles and diamonds which it is apparent must have been
put there for an object, and therefore invites suspicion. The simpler and less conspicuous the design the more
natural it appears. The present design, somewhat resembling the Swasticka. achieves something of a tri-
umph in the way of desired brevity and simplicity. Let me explain that I have not dwelt upon the advant-
ages of these tops to secure personal appreciation for the design, but simply because at the time I was
engaged in designing and constructing such accessories for the profession, the tables received much com-
mendation on the above points and I became impressed with the importance of the design in a black art
table, as well as in the construction of the table and traps.

This design has also the advantage of being easily put on as it may be laid out with one continuous
piece of gold or silver braid, while the circled or broken designs are an abomination to sew on or tack down.

THE TRIUMPH PORTABLE TABLE.

This table involves an entirely new principle in the folding base which combines the three greatest
needs of the traveling magician : SPEED and ease of setting up, which has never been even approached by
any old model tables, accomplished by a novel feature eliminating screws; FIRMNESS and SOLIDITY of
base, which again has never been equaled in a portable table before; LIGHTNESS and strength which has
never been possessed by former models.

The table is the result of several years experiment and study in tabic construction, urged on by the
actual necessity for use in my own performances, of a table which would not wobble even while withstanding
the impact of a heavy mechanical device dropped into the trap from several inches above the table. Yet
the table must be one that can be set up quickly, quicker, if possible, than anything previously designed, and
yet have the smallest possible number of dissecting parts (accomplished in three parts) and would be light
and strong enough to resist the denting and marring which quickly ages the average table in road use.

A MODERN HANDKERCHIEF ACT WITH RATTER

5

A Modern Handkerchief Act

with Patter

NOTE — The Patter and Presentation of the Act are described separately from the Ex-
planation of the Apparatus and Tricks themselves so that the sequence of the lines of the act
will not be interrupted repeatedly with lengthy detailed explanations of the various tricks as
they come up in the act. The manner of handling and presenting each trick as peculiarly
employed in this act is given with the accompanying Patter in the lines of the Act. The
reader may then refer to the complete explanation of the trick and construction of the appa-
ratus given in the SUPPLEMENT.

Preparation and Arrangement of Apparatus.

Two tables; No. 1 at right, No. 2 at left. On Table No. 2 a large handkerchief dyeing tube loaded for
appearance of four large silk handkerchiefs in the following order: green, orange, red and blue and placed
behind edge of large sheet of paper for forming tube. Table No. 2 should have a servante or Black Art Trap.

A large double blue handkerchief, arranged for Twentieth Century Handkerchief Trick, but for pro-
duction of two large silks, orange and green, instead of one small flag as generally. (See detailed description
in Supplement.) This must be placed either in trap or in servante of Table No. 1 at right side with corner
setting up so it can be easily secured.

Handkerchief Producing and Vanishing Casket, with removable bottom, and loaded with a red and
blue silk folded small and tucked in bottom of flap, and a red silk pushed down on top.

One blue silk tucked in right hand trouser pocket near the top so pocket can be pulled out without

exposing it (Top-o-Pocket Dodge).

Hollow Finger-tip prepared with a small square of red silk, in right coat pocket.

One “Pull” to take two large silk handkerchiefs rigged under coat.

Two-inch slit in right trouser seam a few inches above the knee. Four to six colored silks tied at

upper corners with black silk thread to a small piece of blackened cork. Silks tucked through seam with

cork left outside so that by pulling cork the silks can be quickly whipped out.

A number of colored silks and also four white silks for the Dyeing Handkerchiefs wrapped inside of
larger silk in the usual manner prepared for production, and encircled w T ith a loop of catgut. Bundle tucked
under top edge of vest with fine loop outside so thumb may be slipped in to bring out load.

Handkerchief Producing Pedestal loaded with red silk and bottomless glass tumbler on top with card-
board cylinder to cover tumbler.

Set of nickeled rings and apparatus for New Idea Flag Production loaded with handkerchiefs and flags
up to capacity of apparatus. One American Flag on staff or large American Flag of fine Jap silk. As an
alternative finale, a set of Nvmex Production Chininies.

If Spool Trick is to be used for opening, prepare several large size spools by drilling large hole
through the center and inserting a celluloid or polished metal tube. Wind silk thread on outside. Roll
up large silk, tie around with thread connected to a loop of fine catgut, and push inside each tube, leaving
catgut loop outside. Arrange on stand or table five or six different colored spools with silks to match inside.

6

SUPPLEMENT

A twist or rope tubing
upright gives a rich
effect on this
table.

QUICK SET UP: Insert up-
right in base and spin
until tight. Set top
on and give it
a spin.

How It Is Accomplished.

28 SECONDS SET UP. This is accomplished by eliminating the usual tightening screws and employ-
ing friction to hold the tripod legs in place. These legs swing together as shown in the illustration and when
swung open equal distances apart they remain just as they are placed, being held rigid by a novel friction
washer principle, making it unnecessary to tighten any screws as in the former round plate swinging leg
tables. Simply place the upright in the body, spin until tight, place the top on and spin.

RIGIDITY is accomplished by setting the three legs and the upright a full inch deep in solid bronxe
through flush bored holes; as opposed to the thin (3-16 inch) center plates formerly used.

LIGHTNESS AND STRENGTH are secured by using steel tubing which is stronger, though lighter than
solid cast brass and has the advantage of a hard surface which will not become dented and scratched by
the knocking about received in the “Property Room” as will brass tables.

With the foregoing features accomplished, and in consideration of the basic importance of the table to
the magical act, the reader will perhaps pardon me for a reasonable amount of pride in the production of
what has often been spoken of as the acme of table construction, and something of a revolution in that work.

Footnote — The patents on this table are expected to be completed by the publication date of this book.

It is not the intention of the author, in explaining the construction of the foregoing table, to more
than explain the construction of something that may prove of benefit to the profession — in other words it i£
not his desire to subtly direct orders or business to any particular dealer. To avoid this the table will be
marketed through all of the leading magical depots to anyone who may be interested in them. Under no con-
sideration will the author accept any orders personally. Inquirers will be directed to the depots handling
them, a list of such dealers being furnished on application to the publishers.

A MODERN HANDKERCHIEF ACT WITH PATTER

7

Openings Suggested.

Several openings are suggested below in order that the performer may select one to suit his style of
work, the conditions under which he performs and which is adapted to his equipment.

OPENING NO. 1. Employing the Burling Hull Opening Handkerchief Production. It is desirable
that the performance be opened by a quick and effective production of the first silk handkerchief in some
striking manner — a manner that appears easy to the performer, somewhat startling and surprising in its sud-
denness, so as to start the performance with a snap and vigor and at the same time by its apparent ease of
execution on the part of the performer impress the audience with his ability to perform future work with
like ease. It would not be difficult to accomplish this with the usual small size handkerchiefs of thin silk,
for there are many devices for the production of a small Hdkf. But this first handkerchief is to be used to
cover the production of a large number of other flags so it must be a large handkerchief and of opaque
material (so the colors of the others will not show through).

The greater body of the opaque material added to the large size of the handkerchief makes it impos-
sible to pack it into any of the regular handkerchief devices.

With the foregoing requirements and the accompanying difficulties in mind I evolved the following
opening production for my own act and I believe it solves the problem completely.

Burling Hull Opening Handkerchief Production.

The advantage of this production is the novelty and rapidity of the effect and the fact that a silk
of large size and opaque material such as is needed as a cover for securing a handkerchief load, can be
quickly secured.

EFFECT. Enter carrying the long slender wand (or pick it up from the table on entering) in the right
hand. Wave it once to the left, then to the right and then to the left again and on last stroke release the hand-
kerchief, which appears suddenly on the tip of the wand. Remove the handkerchief and come forward,
laying the wand on the table as you pass it. Continue with the production of the load of colored silks as
described in the alternative openings.

OPENING NO. 2. Employing the Improved Handkerchiefs to Flag. Carry forward the 3 silk hand-
kerchiefs: “Direct your attention to these 3 silk handkerchiefs, one red [take red by lower corner, pulling
it out of the bunch] one white [draw out] and the other blue. ‘In Union There Is Strength,’ so I will unite
them [tie the 3 at the top. including the end of tape in the knot] and then blend their colors together
in one composite object, that object being something we all honor [insert thumbs in the ring] something we
would all fight for [draw hands quickly apart, causing the silks to shoot inside the flag] — ‘OLD GLORY!'
[Orchestra: bar of “Star Spangled Banner’’]. Wave, showing both sides of the flag. Follow either with
production of silks as described below, using the flag as a cover for securing the load ; or continue with the
Handkerchief Dyeing trick and when carrying back the silks obtain the load from vest.

s

SUPPLEMENT

Spool Production.

PREPARATION OF THE SPOOL.

Have several large spools turned out by a wood turner. Have a hole
as large as possible bored or turned out through the center of the spools. In-
sert a brass tube which has been polished on the inside, or better yet a cellu-
loid tube, inside this hole so it will serve as a lining. Paste a large spool or
other label over one end. Pleat and fold a silk handkerchief as compactly as
possible and bind it with a loop of thread, through which has been passed a
loop of catgut, as shown in the accompanying illustration. Push the hand-
kerchief down inside the hollow 6pool with the catgut loop outside, as illus-
trated. By slipping the thumb inside the loop the handkerchief can be easily
withdrawn from the spool, the polished surface of the brass or celluloid tube
serving to make its passage smooth. See text Act for application.

The Greater Flag Trick.

The flag is really two flags sewn together along edges except at point “A”, where it is left open
and a piece of whalebone is sewn in the opening to keep it open. A piece of catgut is attached to corner
above opening and a piece of tape to the corner marked “B”, so that part is inside and part out and to the
outside is sewn a harness or key ring blackened.

Turn the end "L” inside until it touches “R” side as in Figure 2 — then turn the side “C” back and
over outside so it is as in Figure 3. Roll flag up and pin it behind blue handkerchief by the tape extending
out the opening at “A.” Showing the handkerchiefs, withdraw the pin and tie the handkerchiefs together
by the corners and incidentally knot the tape in with them at the same time. Insert thumbs in the loop
and the ring and draw quickly apart. The handkerchiefs will shoot quickly inside the flag.

POINTERS: It is well to start the knot inside the opening before drawing hands apart so it cannot
catch at the opening. Sew the tape to blue silk for sure results instead of pinning. Do not jerk the hands
apart — draw evenly. The former is likely to rip the flag sometime, and the change looks better when worked
slowly and evenly so that the handkerchiefs appear to blend into the flag with a pretty effect. The sewing, etc.
of the outfit should be carefully and expertly executed, and it would be better to purchase an accurately
made trick or to work from a correct model, thus obtaining the proper lengths of tapes, etc., and arrangement
and attachment of same for strength and smooth working. This is one trick that never appears to be practical
for home construction and it is equally difficult to explain properly by drawing and description. The hand-
kerchiefs must be of very strong silk and the flag of a medium weight and free from over sizing.

A MODERN HANDKERCHIEF ACT WITH PATTER

9

OPENING 3. On entrance announce that you are going to present
a demonstration of silk production or creation. Directing attention to
the rack of different colored 6pools, request the audience to select any
one of the colors. Pick up the spool of the color selected with the left
hand (standing at the right of the rack of spools) and transfer it to the
right hand, incidentally slipping the right thumb through the catgut
loop. .Keel off a length of the silk thread, breaking it off, then take the
spool from the right hand by drawing it downward so the handkerchief
is drawn out of the spool and hangs from the thumb against the inside
of the palm and replace the spool. Draw the thread through the fingers,
place it between palms and rubbing them together break the thread
binding the handkerchief, causing it to develop prettily. Continue with
production as described below.

Production Of Silks.

Holding the handkerchief by
the upper corners, show it back
and front, then drop it over I
right knee and show hand as in
illustration. Pick it up from
knee with right hand, catching
hold of blackened cork through
the silk. Bring away the other
silks underneath it. Rub bun-
dle about between hands, devel-
oping silks. Take silks one at
a time and, holding the left
arm horizontally in front of the body, lay silks across the forearm one at a time, counting: “One (picking up
the next silk) two, (the next) three.” Bring right hand behind and pick up silks, at the same time slipping
thumb in catgut loop, bringing large load of handkerchiefs away from vest behind the others. Develop load.
Drop on table No. 1.

At this point it is optional whether the performer continue with the next trick described or goes right
on to the Handkerchief Dyeing Trick, either of which is possible without disturbing the sequence of the Act.

QUALITY AND PREPARATION OF HANDKERCHIEFS.

I would say that the most important feature of this act is the large size of the handkerchiefs used. I
inaugurated the use of extremely large size silks because they have a remarkable effect upon the audience.
The use of large and flowing colored silks in the tricks, increases their effect fully 200 per cent, and I have
found that all of the old tricks formerly performed with dinky little pieces of silk become entirely rehabili-
tated. In New York City, the most blase theatrical city in the world, the audiences at some of the Sunday
Special Concerts in “Big Time” houses have received the old Handkerchief Dyeing Trick, but performed
with my 34-inch silks and with special presentation and patter as if it were a new and masterly illusion,
simply because they had never seen the trick worked up or featured with silks of such a volume that they
are in themselves self-convincing. They believed that silks of such a size could not be concealed easily.

The size I recommend for the reader, however, is about 24 to 27 inches, but not less.

The quality of the silks for those handkerchiefs which are manipulated or packed into various fakes
should be that wonderfully small-packing silk known as Liberty Silk — not what is sometimes sold as Liberty
but the real Liberty. This silk can be pressed and confined in about one-third the space required for China
Silk. It is this silk which is sold by magical depots made up into 18-inch handkerchiefs as a Special Profes-
sional Handkerchief and under various names as “Radium Silk,” “Vapor Silk,” etc. at 50 cents each. The
silk is rather hard to find in a variety of colors as few department stores oa.rry it in stock. The price of
the silk is generally $1.25 to $1.50 per yard. (?••?;•

For ‘faked’ handkerchiefs such as the double one in the “Flying and Knotting Handkerchiefs,” use
a strong opaque silk like a dark China or sized silk, and for the handkerchiefs changing to flags use
China Silk.

All handkerchiefs should be hemmed by merely turning over the veriest edge and sewing it in the
manner with which the readei’ is undoubtedly familiar, but in case he is not, may become so by inspecting
one at the magical depot.

10

SUPPLEMENT

Egyptian Handkerchief Casket.

This extremely ingenious device consists of a polished wood box without a top,
and with a bottom which is removed for the purpose of exhibiting it as empty (see
illustration) and then replaced. The bottom has a hole through which to pass the
second finger, which aids in holding the box and incidentally assists in the operation
of the trick as explained hereafter. The box is constructed of very thin wood through-
out. One of the sides is faked with a double wall with a space between sufficient to
conceal three fine silks, of even the size used in this act.

The inner wall is invisibly hinged to the lower edge so that it will swing open at
the top so the silks may be extracted and replaced at will by dropping them inside the
box; then pressing against the wall with the second finger (which is passed through the hole in the bottom)
and causing the wall to swing back into place. Theright hand takes the box by nipping it between the
fingers and thumb near the top edge and lifts it off the bottom. This holds the wall securely closed while it
is exhibited as illustrated. After showing the box and bottom it is replaced on the bottom and the next pro-
duction or vanish effected, followed by another exhibition of the box and base.

In the well-made boxes the false wall is absolutely undetectable, as it meets the other walls exactly at
the regular corners of the box and the double walls are of such thin wood that it makes it possible to con-
struct the four sides of the box extremely thin, and the effect of this is still heightened by rounding off the
edges of the walls. The trick is one little known and one rarely seen and for these reasons, in addition to its
cleverness and many possibilities, makes it one I can strongly recommend to the reader. Considerable care
should be observed in purchasing the trick from any but a reliable dealer, and in any case it would be well
to inspect the box first, for there is a great difference in the various makes and grades. I have only come
across two satisfactory makes, one selling at five dollars (the standard price for the trick) and the other at
four dollars, the latter being fully the equal of the former in construction, the difference being in the grades
of wood used.

Top-o-Pocket Dodge.

This is a principle used for showing the pockets as
empty, while really containing an article. Pockets, as
known only to tailors and magicians, extend upward as well
as downward from the opening. There is a little space at
the top of the pocket as shown in the illustration, sufficient
for an article to be tucked into. This space is indicated by
No. 2 in the drawing. The pocket may then he pulled out
as shown in the illustration without exposing its upper con-
tents. In this way the performer may show his pockets
empty ( f) at will.

THE MANNER OF APPLYING: The principle in

this act is to conceal a blue handkerchief in the pocket in

the position indicated by No. 2 and to show the pocket empty. In the act of pushing the pocket inside, he scoops
the concealed handkerchief under his thumb and carries it down with his hand to the bottom of the pocket.
He now places a rolled-up red handkerchief in his pocket but adroitly shoves it up into the top of the pocket
with his thumb, and continues the motion of his hand down to the bottom of his pocket, where he bunches
up the blue silk so that the lump is visible to the spectators. lie later reaches in and produces the blue silk,
immediately after which he puLls the pocket inside out to show it otherwise empty. Thus the red silk has
apparently changed places with the blue silk and passed back to the Egyptian Handkerchief Casket.

A MODERN HANDKERCHIEF ACT WITH PATTER

1 1

HANDKERCHIEF CASKET.

Bring forward handkerchief box and, removing bottom, hold box up, looking through it toward audi-
ence so they can see through it. “This is a mystic casket constructed of Egyptian magic wood. It is used
by Egyptian magicians to conceal their jewels — for anything placed inside becomes immediately invisible. It
is now full of invisible presents; though you cannot see them.” [Place box on left hand] “For instance here
is the silk handkerchief (reaching in and producing ‘red’ silk) presented to me by old ‘Omar Keyoodle’ while
traveling in that country — Egypt [after a pause] Egypt, New Jersey.” Lay silk on edge of box and draw
out right trouser pocket (blue silk concealed there, being pushed up into the
very top of pocket, it is easy to pull the pocket out without exposing it, see
Sup. Top-o-Pocket Dodge). “I will next place this silk handkerchief in my
pocket, first showing you, however, that my pocket is entirely empty. Oh,
don’t be alarmed, nothing unusual, I assure you, it has been empty before.”

[Place red silk in pocket and with the same motion push the blue silk down
to bottom of pocket, tucking red silk in top of pocket.] “Another interest-
ing feature of this casket is that any present taken out of the box [take bot-
tom in left and box in right and hold it so that the audience can see through
it] can always be made to return to it at any time [put box on bottom]. It
is simply necessary to wave the hand over the box like this [execute motion]
and here we have the little red silk back again. [Produce second red silk
from box.]

“Last week I presented my wife with a silk dress from this box — Oh!
yes, there are quite a few costumes in the little casket — in fact, [looking in-
side] there are five complete costumes in there now! [To audience confi-
dentially] of course the costumes in this little Egyptian casket are not
of the latest Parisian fashion — in fact they are Egyptian costumes! Yes,
you know; the kind that ‘Little Egypt’ wears! Yes, there are five of them here. But to continue; if I
place this red silk back in the box [place in box] it will immediately disappear [open box showing empty]
as you see — and pass back into my pocket again, [reach in pocket and pull out BLUE silk, keeping eyes
to audience so you do not see it]. Here we have the little red silk again. [Smile and kill time for a few
seconds, awaiting laugh to apprise you that audience sees something wrong. Then look down and suddenly
discover mistake. Assume puzzled expression, and throwing silk across arm, pull out pocket as if looking
for silk, so that audience can see it is empty. Push pocket back ; put blue silk in and make the usual ex-
change by concealing the blue silk at top of pocket and red silk at bottom for next appearance.] This is
the first time I have ever had trouble with this trick. [Show box and replace bottom. Wave hand several
times over box — drop hand in and pull out Blue silk.] Blue again! [surprised]. Well then, what have I got
in my pocket? [Hang blue over edge of box and pluuge hand in pocket and pull out RED silk.] [Expres-
sion clears and laughing] “Oh! That’s it!! There are two silk Handkerchiefs! No wonder we had trouble!
Now, so that we will have no further trouble, will you (advance to spectator) kindly tie the two Handker-
chiefs together? Do not tie the corners together, but lay one Handkerchief on top of the other and tie a
knot right through the centre — or two knots.” [While this is being done, show pockets empty and then
push blue silk down into bottom. Next show box empty, doing so as if looking to make sure that there is
nothing in the way to interfere with the trick this time, and while holding box on bottom with both hands,
reach inside and lift RED silk over edge of flap and leave it so it is really lying on bottom of box. To cover
this move, hold the box in both hands, one on bottom and one inside, and draw attention to spectator by
remarking] “That’s right, sir! Tie them good and tight.” [Come forward and, taking silks, dangle them
up high so all can see.] “Well (laughingly), they cannot get apart this time.” [Turn them about, looking
at them critically, which gives audience an opportunity to see they are tightly joined. Holding them over
box, count] “One, two, three.” [Place in box, quickly close flap on them with left finger, bring right hand
up again, palm to audience, showing it empty, then down again, lifting box off bottom, allowing RED silk
to flutter to floor. ALONE. Holding box in right hand and bottom in left, turn them about so all can see
the Handkerchiefs have become untied and the blue has vanished. Then to audience with questioning expres-
sion.] “AND THE BLUE SILK? [Smiling and speaking slowly.] RIGHT— DOWN— HERE!” [Reach in
pocket and draw out blue silk. Bow back a few steps to draw applause, which should always follow this
conclusion.]

REGARDING THE BURLING HULL MANIPULATION OF THE EGYPTIAN WONDER

CASKET

This is one of the cleverest and most subtle devices known to magic and possessed of almost
unlimited possibilities. Unfortunately no performer has previously developed the trick to any extent
and it has simply been used to vanish and produce a silk handkerchief in the most prosaic manner.
Some years ago the author became impressed with its possibilities and began to evolve many effect-
ive combinations, some quite elaborate, which resulted in the trick being spoken of now as the
"Burling Hull Casket.” The author takes this opportunity of saying that the tnck is not his invention
(really quite an old one), but that his name has simply been linked with it as the name of Valadon with
the “Valadon Cards on Glass Plate”; Kellar, with "The Kellar Clock Dial,” etc., solely because of hi*
development and original manipulation of the idea. The construction is fully explained in the sup-
plement.

!2

SUPPLEMENT

Blue

Corners rolled in.

PERFECTED HANDKERCHIEF DYEING TRICK.

To accomplish the handkerchief dyeing effect as described in the text of the act it is necessary to use
an improved form of tube for the handkerchiefs. This tube is constructed as shown in the accompanying
drawing, possessing a cup sliding freely from end to end. To the front end of the cup (or the end which is
at the left in the illustration) is secured a disk of heavy felt which is a little larger in diameter than the
cup, and is secured to it by a plate riveted to the cup. While this perfected tube has been on the market
for some time as manufactured by a magical dealer in New York, it is not of sufficient size to take the
large handkerchiefs used in this act, therefore I have illustrated the construction so that the reader may
have it made up to order and will know just what to specify in ordering. The advantages of this tube are
that it delivers the colored handkerchiefs into the tube without any possible nipping or catching of the last
silk between the tube and the turned over edge of the tube, so that the tube may be trapped or otherwise
gotten rid of immediately after the last white silk has been pushed into the tube, and it is not necessary to
withdraw the last colored silk from the paper before feeling free to get rid of the tube. This result is effected
by the felt which, being larger than the mouth of the tube, spreads as it reaches the end and passes out of
the tube.

OPERATION : Load the tube as follows : Turn the corners of a blue silk inward towards the center
and roll the outside edges inward until it forms a loose ball, and push it into the tube, putting the rounded
side in first (see illustration). This silk will expand on coming out of the metal tube into the paper tube and
its tendency to expand will hold it from being forced backward and downward by the expansion of the other
silks. The other three silks may be worked into the tube corner first, in proper order for appearance.

Lay the tube on the the table, behind the edge of the paper, as shown in the illustration. After
doubling the white silks pick up the paper with the left hand and at the same instant lay the silks down with
the right so that they will fall just in front of and hide the tube. After showing the paper and forming it
into a tube, look through it toward the audience and prove it empty. Hold paper tube in the left hand and
pick up the silks with the right, securing the metal tube behind them with a pressure of the thumb against the
side, and bring the whole toward the paper tube; insert the metal tube first, following it with the silks in
one motion. The continuation of the trick and its presentation is fully explained in the text of the act.

A MODERN HANDKERCHIEF ACT WITH PATTER

13

DYEING HANDKERCHIEFS

[Picking up silks draw through hand and show back and front.] “For the next experiment I will

employ four silk handkerchiefs. Of course 1 might borrow the handkerchiefs from the audience. But so

that I may be absolutely certain that they are not prepared in any manner [Pause] — I shall use my own.
With these four silks, I intend to demonstrate a method of dyeing — by magical means. During the execu-
tion [to spectator] — No, madam, I am not going to kill anything. Nothing will dye except this handker-
chief. [Approach Table No. 2.] During its execution, I will make use of this piece of paper [picking up
paper, lay handkerchiefs over and concealing loaded tube.] It is made from the same paper as newspaper, and
outside of the war news (or current news item) there is nothing in it. [Holding sheet high, appear to spy a
water mark.] Or that is, nothing but a water mark. Wat-er-remark-able thing! [Roll up paper in form of
a tube and look through it toward audience.] However, it is empty. You can see right through it. I sin-
cerely hope you won’t ‘see through me’ quite so easily [loading in silks.] I intend to cause these white

silks to come out of the other end of this tube in entirely different colors. I wonder what the first one
will be? [Green silk appears at top.] Take corner of silk and drawing hands apart causing the silk to
come part way out. This brings the tube lower and near to trap or servante and as it is over same, let dyeing
tube slide into trap or servante. See Figure 24. Attention being centred on the upper end of tube by appear-
ance of green silk there, the ‘getaway’ is easily accomplished. GREEN! Well! you can’t keep the Irish
down! They're always on top. [This is a certain laugh producer. Draw silk out, and advancing down aisle
hand it to spectator.]

[Flip paper and look inside.] “The next one reminds me of the town I
played last week. Orange, New Jersey. [Draws out orange silk.] Before I go
any further I want to say that if any lady in the house would like to have her shirt-
waist dyed — she may pass it right up here. It will only take a minute. [After a
slight pause tap the paper tube causing the red silk to pop out.] Ah, it is evident
that my last remark has caused this modest little handkerchief to blush. [Draw
out red silk.] Do you know that a respected gentleman of this neighborhood
recently offered me $50 for a tube large enough to pass a person through 1 Fact !

He expected to use it on his mother-in-law. He said he would give $50 any time
to see his mother-in-law dye (die). And only last week a lady offered me the same
amount for small tube — with the necessary instructions. She had been suffering
with stomach trouble for years. Said the doctors advised her to diet (dye it) and she ‘thought this would
be the nicest way.’ Properly brought out this is good for a storm of laughter from most any audience.

[Look inside tube.] I see the last silk has not changed its color yet. I have it — I will blow through
the tube. That sometimes helps it. [Blow in tube, then look inside, puzzled.] No it did not work that time.
[Turning to spectator.] Here, sir, you try it! [Extending tube to him.] Just blow through it. [Spec-
tator does so; then look inside.] WONDERFUL!! Why I never saw anything like it! You have a powerful

breath, sir! Do you take anything for it? What’s that? Just CLOVES! 1 thought I noticed

something there. [Turning to the audience again.] Naturally as the gentleman BLEW through the tube
the last handkerchief is — BLUE!”

If the entertainment is in a lyceum the performer can increase the interest by walking down the
centre aisle and handing the handkerchiefs to spectators as they come out “dyed,” thus causing it to ap-
pear that he has performed the entire experiment in the audience.

By the manipulation described the performer has rid himself of the tube before the first handkerchief
was taken out of the tube — to be exact; when the green handkerchief was drawn slightly out of the tube.
These results are possible by using the special tube described because the performer need not wait until all
the silks have been extracted for fear that the last handkerchief may be caught in the tube and thus be
dragged out with the tube into view, but he may get rid of the tube at once with confidence that all the
handkerchiefs will remain where they belong.

!4

S V P P L E »l E S T

The Flying and Knotting Silks.

The trick as explained here is an adaptation of the Twentieth Century Handkerchief Trick in an
improved and more spectacular form. The Twentieth Century Handkerchief Trick, it will be recalled, pro-
vides for the appearance of one small flag between two knotted handkerchiefs, the little flag being concealed
in a pocket near the corner of one of the handkerchiefs. The appearance of the little flag in its new quarters
is supposed to be greeted with rounds of applause, which however, it generally fails of because of the small
size in which the trick is generally made and sold (13-inch handkerchiefs , and again because of its set form.

The production of two handkerchiefs of the extremely large size used in this act and apparently the
same two which had just been used in the Dyeing Handkerchief Trick lends something of the spectacular to
the trick in proportion to the size of the silks. While their previous use in the Dyeing Handkerchief Trick
and the tying of the silks by the spectator and their unexpected appearance between the two held by the audi-
ence all add the element of surprise and a logical sequence of action or events which has its effect upon
the audience.

BLUE HKF.

PREPARATION OF SILKS: The blue silk is double; is really two handkerchiefs sewn together at the
edges, except at one corner, where an opening is left, and one of the projecting corners at this opening is cut
down an inch, making a regular pocket opening as shown in the diagrams. The corner of the orange silk
'No. 1) Ls tied to the corner of the blue silk, and to the diagonally opposite corner of No. 1 is tied the
corner of the green silk, indicated by No. 2. The opposite corner of this green silk is cut off and a “fake”
corner of blue silk is substituted. The silks are now poked inside the double blue silk, with the exception
of the faked corner “B,” which Is allowed to project out of the opening and thus takes the place and appear-
ance of the real corner of the blue silk. The position of each is indicated by “A.” It is a good idea to pin
the corner lightly in place so it will not slip in or out, doing it in such a manner that you can easily withdraw
the pin with a stroke of the thumbnail w^hen ready.

The corner of the red handkerchief during the presentation is, of course, really tied to the faked blue
corner of the green silk, so that when the handkerchiefs are later jerked out of the spectator's pocket the
orange and green silks will be whipped out of the double blue silk and appear tied between the other two
formerly joined.

IMPORTANT : Use a very opaque blue silk for the double handkerchief. For the orange and green
handkerchiefs use the very finest genuine Liberty silk to eliminate bulk. For the red handkerchief you
may employ one used in the dyeing handkerchief trick but preferably one of China silk rather than Liberty,
so that it will compare favorably in bulk with the blue silk and not cause the latter to appear larger in
proportion.

MODERN HANDKERCHIEF ACT WITH PATTER

IS

The Flying and Knotting Silks.

Gather handkerchiefs and return to stage. I Drop on Table No. 1 except orange and green, which
carry forward.] “I want some gentleman to tie these two silks together by the corners. You will oblige
me, sir? [handing silks to spectator, walk back to table, picking up red silk and reaching down into trap
behind pile of silks bring out the double blue silk. It appears, however, that you have merely taken the
two silks just ‘dyed’ from the table again.] I will show you what I mean. Just take the two handkerchiefs
like this and tie their corners together [tie as if illustrating the manner in which you wish him to tie
his handkerchiefs.] Now hold them up this way [holding up your silks near one
corner which permits audience to see yours are apparently free from trickery — but
hold the inside silk through sides of double silk so that it will not be pulled out and
shake them up and down once or twice as if testing knots]. No, I don't think yours
will hold, sir! Here, hold these a minute and let me have yours, and I will show
you what I mean. [Roll up the two you hold and tuck in his OUTSIDE breast
pocket, leaving the red corner out — or else place them in a glass goblet and place
it near footlights or hand it to him to hold. Taking the two silks he has tied, pull
them as if testing the knots. Then looking at knots remark] “ORANGE AND

GREEN!” Well that is kind of a hard combination
to tie together anyway. However if the silks are tied
properly you can press them into a very small space

[working silks in pull] until with a few rubs like this they disappear! [open
hands showing vanish.] “Well [looking at hands], I guess they were all right
after all.” [nodding to the tier with a smile]. They have GONE ! [ Walk quick-
ly forward and seizing corner of RED silk jerk the silk out with a quick motion
followed by a quick up-and-down shake to be certain that B< )TI1 silks come out of
the blue one.] [Triumphantly] “Here they are, the Orange and Green, between
the other two. [Looking at knot] And your original knot still holds, sir!
What's that? You are experienced in tying knots? Pardon me — but you are
a sailor? A MINISTER! “Oh, I see! [To audience] “NO WONDER!”

Vanishing Silk and Handkerchief Pedestal.

Show glass tumbler, place it on handkerchief pedestal, cover with paper cylinder and carry forward ;
meanwhile operating the piston so handkerchief is loaded into bottomless glass, and place near footlights on
tabouret, or if tabouret is not used, on stage floor. Select small red silk from table and come forward.

“During the course of the last experiment, I overheard a lady express a wish to know how
the handkerchiefs were made to disappear. I am always anxious to oblige a lady; and while
it is decidedly against the rules of the profession — still, I am going to make this a special occa-
sion, and show you exactly how this is done. But I must ask you not to tell anyone else, for I am a member
of the Magicians' Union. I don't want to have my wand taken away.” [Secure small boy from audience.]
“I am going to have this young man assist me and see that everything is fair. [Tuck red silk in left hand
by successive pokes with right forefinger. Pretend to clumsily palm it out into right but really leave it
in left.] Take a silk handkerchief like this and poke it in your left hand so. You must always be careful
not to make any suspicious movements. [With that slip right hand in pocket as if pocketing silk. There
is certain to be a murmur of suspicion. After a moment pretend to overhear.] “In my pocket? Oh, no!
[Opening left, let silk expand and hang from fingers.] The handkerchief is still in the left hand you see.
[In a hurt tone.] You did not watch me. [Slip the finger tip on right forefinger and bring the right hand
out of pocket. Roll the red silk into a ball, tuck it into left fist, palm it out into right and insert finger tip

16

SUPPLEMENT

Improved Handkerchief Producing Pedestals.

The apparatus is obtainable in two forms, the regular model and the
B. H. improved model.

The former is larger and has a cup, “ B, ” directly under the top into
which a silk is packed, the silk being poked in through a hole into the top of
the table directly over the cup. The top is covered with figured felt and this
is cut to correspond with the opening so that it forms a little flap or trap
door. The flap lies level with the top and the figured design helps to make
the cut practically invisible. To a plunger working up and down inside the
upright, is fastened a round headed screw, indicated by “A" and by pushing
upward on this the plunger is caused. to push the handkerchief in the cup up
and out through the top.

A bottomless glass tumbler, previously shown empty is placed over the
opening in the top to receive the handkerchief, and when the silk is delivered inside it expands with a pretty
effect. The suspicious looking cup under the top and the large size of the apparatus for supporting such a
small article makes the apparatus at once suspicious looking to any one of ordinarily keen perception. Yet
the large size of the device was thought necessary to cause the cup to appear less noticeable or conspicuous in
proportion. A much better device is one described below.

BURLING HULL IMPROVED MODEL.

A considerable improvement is effected in this model as shown in the succeeding illustration. The
suspicious looking cup is entirely dispensed with by slightly increasing the diameter of the upright (actually
only one quarter of an inch increase) which upright is a hollow tube. This also allows the size of the base and
the top to be decreased as well as the height, making the w T hole appear more in accord ivith the object,
i. e. to support a glass tumbler.

The increase in diameter of the upright also adds greatly to the symmetry of the apparatus and com-
parison of the illustrations will show this later model appears far more in proportion than the old.

The drawing is in exact scale and proportion to the apparatus (in fact was traced over a photograph)
as designed and formerly manufactured by the Burling Hull Studio and sold both retail and wholesale
from 1908 to May, 1914 (when the business was dissolved) and was the first such model produced. It can
still be obtained from a number of the better class magical depots for after the writer discontinued the manu
facture the dealers, by mutual consent, duplicated the model in their oivn manufacture.

The best manner of presenting this trick is explained in the text of the act.

MODERN HANDKERCHIEF ACT WITH PATTER

17

“All except the last
corner.”

(To Audience) “Nothing
in the right hand this time.”
(To Boy) “Now Sonny
hold on tight, we are going
around a curve!”

“Did you see it go?”

in left, and drawing out little piece of silk so it show's.] “You see, you tuek it into the hand — except the last
corner [to boy]. Now sonny, I want you to tuck the corner in. Stand around here [have him face the audience,
and stand directly behind him. Under cover of his body, vest the palmed handkerchief] and take hold of
my left wrist tightly so that the handkerchief cannot get away. [Tuck silk into finger tip a little at a time
with right index finger — then insert finger in tip and bring hand away with sweep to right with fingers
w'ide apart palm to audience, as in illustration No. 2. Thus the only one
near enough to see the finger tip is the boy, and as the open hand travels
rapidly across in front of him he notes at a glance that it is empty and
pays no more attention to it as it travels around to the position practic-
ally behind him where he cannot see it. Here it is exhibited to the
audience safely, as they are too far away to see the tip. [Addressing
the audience.] “Nothing in that hand this time! Now watch the hand-
kerchief melt away. [Turn attention to left again, and turning right
hand over “thumb palm” finger tip. With a kneading motion, open left
hand slowly, showing handkerchief has gone.] Did you see it go, sonny?

[Boy shakes his head.] Why it passed right in front of you, and into
that glass. [Indicating glass on pedestal.] Just lift off that paper
tube. [Boy does so, exposing handkerchief in goblet. Pull silk out by corner, exhibiting it, then seize boy by
the hand, shake it warmly, congratulating him.] Thank you. You did that finely. First time you ever tried
it, too — isn’t it? WONDERFUL!” [This wakens audience to the fact that your work and your trick really
is wonderful and causes them to applaud you as you lead the boy to rundown].

Alternative Conclusions.

As in the case of the Opening, tw*o alternative tricks are offered for the conclusion, one being suitable
for the performer wishing to confine his apparatus to compact articles and another where a larger and
more elaborate display is sought. The two tricks are both of a very clean working and undetectable nature,
and therefore STRONG in climax. The performer, of course, is not limited to either of these tricks should
he wish to go further, and can easily add a more cumbersome Finale such as the production and erection
of a pyramid of flags.

18

SUPPLEMENT

New Idea Flag Production.

Presented at the Annual Show of a well-known magical association, this production puzzled the magical
gathering because the tamborine used was shown front and back after the paper had been placed between
the rings, and the production was fully twice as large as could actually be contained in a tamborine of its
size, and also achieved special commendation in the magical papers reviewing the entertainment, bimilar
approval from magicians who have seen it performed by the inventor has brought out the fact that the special
manipulation of the container is as puzzling to the magician as to the layman. The results are achieved by
means of a special container in which the flags can be packed almost to a solid, and yet be brought into
the apparatus without jambing — and by the arrangement of the container which may be manipulated while
showing the apparatus inside and out, on the same principle by which a ball is manipulated and concealed
while showing the hands inside and out.

THE APPARATUS: With the trick are supplied two rings similar to those used in the tamborine
trick but about three times as deep and nearly as wide as those in the “Drum That Can't Be Beat” Produc-
tion; also a special container. This container is as illustrated in the diagram above, somewhat like a large
“Biscuit Cutter,” the “B” side being open and the “A” side possessing a handle through which the fingers
may be passed. Under this handle a hole is cut through which the second finger may be passed to push the
“Load” forward as needed. A disc of celluloid, fitting inside the collar or front of the container, is pro-
vided, so that after the load of flags has been packed in the celluloid is forced down over the front and secured
as described later. This disc serves to retain the voluminous load while the flags are being extracted through
the hole in the center, and also prevents the paper being ripped open by the flags when they are being pulled
out. Thus no larger hole can appear in the paper than in the celluloid disc.

OPERATION : Load the container with carefully folded flags and handkerchiefs. Sew a shoe button

on the corner of each flag for good results and lay the flags around the sides of the container with the
buttons toward the center. Load until about 2V^ inches above the edge of collar, then place the celluloid
disc on top and force down. Place a piece of paper over this and bind with a piece of string around side of
container, as ir illustration, to hold it on.

Celluloid

I J-

| Container I

Rin$5

Container loaded

USE A PAPER NOT LESS THAN 30x18.

Have container either ou servante of table or chair, or hung on back of assistant who hands you paper.
Pick up rings and, placing paper between them, press them together but with the hollow space uppermost.
Slip fingers through handle of container and bring it away under cover of the paper. This permits all to see
the inside of the container, which you hold, say in the right hand with the con-
tainer held in the left immediately behind it (somewhat like the position shown
in the accompanying illustration). Now quickly reverse the tamborine; in other
words turn it over so the other side is presented to the audience, but keeping it in
front of the loaded container in such a way that during the turning the container
is at no time exposed to view. This is easily accomplished with a little practice,
for the exceeding size of the paper hides the container and the end of paper
bends over as in illustration. The tambourine is now brought back against the
container, which is quickly pushed inside a little ways, and then while tearing
away the extra paper around the edges you have plenty of opportunity to push it
home.

During the above manipulation you have to all appearances simply
picked the tamborine up from the table with inside toward audience, then turned it over (thus exposing both
sides) and transferred it to your left hand for tearing away surplus paper with the right hand. Puncturing

Hi

mml

A MODERN HANDKERCHIEF ACT WITH PATTER

19

New Idea Flag Production

Bring forward rings of the New Idea Flag Production. “These, ladies and gentlemen, are Cingalese
Wedding Rings. They are made of Cingalese Gold. A very singular gold. Owing to the peculiar effect of
our climate upon Cingalese Gold I have found it necessary to have them nickel-plated, to keep the gold from
wearing off. [Separating rings.] There are really two of these rings. Unlike our wedding rings they are
not worn on the wedding finger. No! They are worn through the nose [place ring at nose], which makes
it very handy to lead the lady about with [clamp paper between rings, step to centre of stage and holding
rings at arm’s length show the back and front of tambourine.] “With the accompaniment of a little music
from the orchestra — something soft and silky — I will play a little handkerchief music. [Tap tambourine
and draw out first handkerchief.] [Follow with balance of production and flag on staff from material in
conclusion.]

NYMEX PRODUCTION BOXES. — This trick is suggested as the most effective production for con-
cluding any magical act. Two boxes, or rather chimneys, with neither tops nor bottoms are placed on table.
One laid on its side so audience can see through it at all times ; the other after being shown is stood upright on
top of the first box as shown in the illustration. Reaching in the top the performer immediately begins to
draw out a number of large silk flags 3 feet long, each accompanied by a few bars of the national air from
the orchestra. This is followed by the production of a string of flags, that is, a number of flags all strung
on a silk ribbon. The top box is now lifted off and everything shown to the audience and when they are
satisfied that the boxes are as empty as before they are replaced — whereupon the performer immediately
reaches inside and produces sundry contraband articles such as funny baby clothes, stockings, etc. Once again
the boxes are shown and replaced when the performer proceeds to pull quantities of WIDE SILK RIBBON
(remember, not the usual paper ribbon, hut heavy silk ribbon) from them. Then gathering up the ribbon
the performance is effectively concluded by the appearance of a couple of doves or rabbits from the mass of
silk ribbons.

The striking features of the production are that there is ABSOLUTELY NO LOADING of the chim-
neys, in other words, you put nothing into them at any time. The production is of such a large volume that
it is immediately apparent that it could not possibly be concealed in the chimneys (which are only % of an
inch thick) and again it is possible to produce by the unique principle employed in this trick, a larger
volume of material than by any other known method.

Curtain.

20

SUPPLEMENT

the front paper, begin drawing out the flags and 6ilks, and after the first few layers are produced insert the
left second finger in the hole in the back of container and push up the flags from the back so you can get them
easily. Not only does the container permit of the most puzzling effect, of a performer standing in the center
of the stage away from the tables and loading facilities, showing a drum or tamborine from both sides, and
then producing a large number of flags and silks and ribbons; but it also permits of such a very large volume
of material that the initiated will quickly recognize it is twice the amount that could be otherwise packed into
such a small space. This is, of course, due to the use of the peculiar container which permits cramming twice
the usual amount into the space under pressure, while the celluloid furnishes a smooth slip to facilitate
extraction of the flags. Altogether this furnishes one of the most effective productions ever devised for close
work, and where portability is desired.

A suggested production is: A series of fifteen two-foot silk flags strung together, eighteen silk hand-
kerchiefs of Liberty silk, a set of six selected three-foot silk flags and one large six-foot national flag of
special Jap silk.

REGARDING THE NYMEX PRODUCTION CHIMNEYS.

This trick is mentioned in connection with the act as an extra or alternative
conclusion, the original concluding trick (New Idea Flag Production) being de-
scribed in full and its construction explained in detail above.

The Nymex Chimneys are offered only as an additional suggestion but can-
not be explained here for the following reasons : First, they are the property and
protected invention of a magical dealer who reserves the performing rights, so that
the trick cannot be used professionally even if constructed by the reader. Second,
the construction, while not of a very complicated nature, is such that it can only
be made clear by a number of mechanical plans of sufficient size to show the parts
in detail — a size out of proportion to the space available in this book. Such a set
of plans would be absolutely essential to the construction of the trick and it would
be useless to attempt an imperfect description simply for the sake of exposure with the result that without
assisting the reader in any way the exclusive value of the apparatus would be lowered to all interested.
The publishers have, therefore, arranged with the owners to prepare a set of accurate drawings so clear,
comprehensive and thorough in detail that even the most mediocre craftsman will have no difficulty in con-
structing the trick from these plans. A set of these plans may be obtained direct from the publishers on
remittance of $3.00 by anyone who may be interested in the trick.

It should be remembered that the American Magic Corporation does not manufacture or sell any
magical apparatus, and will not undertake to construct the trick in question. It undertakes to furnish the
plans in this case only for the sake of completeness and as an accommodation to the readers of the Hand-
kerchief Act who may desire to use it, and not strictly as a business transaction, for it is not expected that
the number of sets sold will more than repay the expense of preparing the plans and cover the royalty to
the patentee.

The BOOK That You
MUST Have

The Art Of The
Stage

OR

“Magical Stage-Craft and
Showmanship”

“The Inner Secrets of Successful
Performing ”

Plain “Straight -from -the -shoulder” in-
structions in what to do and say during the
entertainment, from the moment of Entrance
to the final Curtain, and the Encore.

The most valuable information ever put
between two covers for the magician who
wishes to achieve success in his entertain-
_ . __ ments. This is not a theoretical discussion

Printed on Heavy Antique Art 0 j ^.| le su bj e ct (as all previous attempts have
Tint Paper, Beautiful Covers been) hut condensed practical knowledge
of Marbled Opal gained by experience in handling audiences.

ART OF THE STAGE

MAGICAL

STAGECRAFT and SHOWMANSHIP

fifw;

—

Wr

llllliiiili

■I

ii

AMERICAN MAGIC CORPORATION

INCLUDING :

Effective Entrance Magical Music The Bow

Voice Throwing Syllabic Pronunciation Gesture

Carriage Opening Address Opening Tricks

Creating Applause Stage-fright Cure

Curtain Handling Bringing Spectator on Stage

Tricks for Encores

List of Hits and Programs forSpecial Occasions, etc., etc., etc.

The information does not require long study but may be applied in the
reader’s next entertainment. It will make a finished artiste of the rawest ma-
terial.

No Magician should be without this book. Price 50 cts. 2s. 2d.

Contents of Part One.

Manner of Effective Entrance — Rapid entrance — mysterious entrance — where
■naile from and how — suiting entrance to style of performance — location of settings
n relation to entrance.

Correct Carriage — How achieved — length of step in relation to style of per-
formance — quick method of setting oneself for perfect carriage before entrance.

Position — While manipulating — position for feet in turning — correct position in
turning for change over palm — tips for walking away from audience — for walking
across stage.

The Bow — Entrance how — how made — bow at conclusion of important trick —
bow at conclusion of act — bow at curtain call.

Gestures — Forms of gestures — -to indicate article or person.

Mannerisms — Performing in mysterious manner — the brilliant type of per-
formance — types of individuals adapted for various styles — how the reader can
decide which he is best suited for.

Employing Facial Expression. Illusion — Illusion of stage which makes ordinary
smile appear a grin — correct stage smile and how it is employed as a principle of
suggestion — dramatic expression — examples of how to employ affected surprise —
bewilderment, disappointment — hearty amusement, etc. — to increase the effective-
ness of the tricks.

Advice on Dress — Relation to different styles of performance — when not to
wear evening dress — a novelty in magical costume.

Elocutionary Principles — Making the voice carry — secret of voice power — proper
breathing for greater volume — proper pitch for voice in public speaking — securing
depth.

Pronunciation— Position for tongue and lips for clearer and sharper pronuncia-
tion — what to avoid — lips aiding audience to distinguish words — syllabic prononcia-
tion — its principles and reasons.

Opening Address — When and where appropriate — what it should consist of —
four types of opening address — suggestions — detailed examples of incorrect address
— detailed examples of correct spacing and delivery.

Contents of Part Two.

Stage Fright and Its Cures — Its cause and a certain method of avoiding it.

Stage Nervousness Another Thing — How experienced performers overcome its
attacks advice from the author.

Music for Magical Acts — Suitable pieces suggested — their application.

Opening Trick — Style of tricks suitable for opening — bad results of good tricks
used for opening — the performance list of tricks suggested for opening and methods
of presenting them — original opening tricks by the author designed for Lyceum
use — construction of opening tricks.

Securing Applause — Methods of leading audience to applaud — and applause-
drawing tricks — creating applause— methods of creating applause — starting applause
— forcing applause when slow — why some acts go “cold” — secret of drawing ap-
plause — methods of dramatic presentation to draw applause — handling curtains —
using curtains to prolong applause— curtains at end of illusion act.

Conclusion of Act— Curtain calls — speaking before curtain — bowing off.

Encores — Great danger of employing even the best of tricks for encores — list
of tricks suitable for encores — author’s suggestions — some humorous effects for
encores — where encores can be used to advantage.

Programme of Hits for Special Occasions — Hits for large conventions — some
combinations suggested for lodges and clubs — hits for children’s entertainments —
hits for church entertainments — features for children’s entertainments — special
programme for private society entertainments.

«J*ou t J 33 Rope Ties and Chain Releases

A REALLY wonderful book containing actually thirty-five such
releases. The first real and intimate expose of the whole art
of Rope Manipulation by one who is conceded to know
more about the subject than any other inan living.

“Thirty-five Rope and Chain Releases! Why there have
never been more than ten or twelve such tricks," you will say.

True, but this does not take into consideration the remarkable
number of NEW TRICKS AND TIES INVENTED BY THE
AUTHOR who explains them for the first time. When the man
who has purchased and studied everything obtainable on this
subject reads this book, it gradually dawns upon him that he has
been only a neophyte in the real secrets of Rope Tying which
arc so clearly explained here.

It shows how to give a Complete Act of Rope and Chain

Releases, more sensational and interesting and far more con-

vincing than handcuffs, for the audience can furnish the chains and ropcs-^and less
expensive. It tells how to handle the committee; make them play right into your
hands repeatedly; also that like in the SUCKER DIE BOX. they arc helping you
most when they think they arc trapping you. And it always “brings the house down
''hen you turn the tables on a man from the audience. Explains the ropes to use, the
lecture, and tile arguments, and dozens of new tics, etc., including the tving of the
performer in 75 feet of rope by five members of the audience (no confederates), and

1 ' "" k ,, lcase - SOME OF THE FEATURES

A noon OPEN I Mi HOPK THICK -The Mysterious Knots.

- How to <Jct Up an Act or Programme of Hope and Chain

UeleMei and Advertise the Performance In Advance.

Arranging the Programme. Tricks Suitable for Opening
and Concluding the Act.

II % MH.l N<« < OMMITTBE— Getting Rid of Troublesom"

Members. Avoiding Bothemome Tic* to Make Your Work
Easier. Kinds of Ilope to Use for Various Tien.

two new collapsible caiii.nbt.n which will pack
Into a suitcase or hag.

MOW AND OltHUNAL TIP.H OF TUB AUTHOR The

Figure 8 or Surprise Tic; the Strangle Tie (No Double
Hopes); B. H. Triumph Tie; the Novelty Tlo. Etc., Etc.

l». II. CAKEI> icon: At Last an Invention which meets

practically the demands of the beginner seeking a Royal
Hoad to rope escapes.

THE STAMM Rl> TIES — Explanations of the standard ties
such as: Two Methods of the Kollnr Tie; the Improved
Kellar Tie (a version any one can acquire with ease); the
Excelsior Tie; the 20th Century Tie, Etc., with new and
additional Instructions more complete than as formerly sold
at $1.00 each and with IIIiimI rniiotix.

SECTION OF s|* | It ITU A I.ISTIE TIES The New B. 11.

Spirit Tar e Tie; the Bandage Test! Mysterious Chair Tlo; the
Tape Loop Tie; the Vest Turning Trick, Etc.

TUB COMPLETE TEN Kill TIB \ N II MAWEIl OF
PRESENTATION The first detailed explanation of tie*

HEAL Ten lehl Tie— to which Is added EXACT INSTRUC-
TIONS with all ‘ , Llnc8 , • ami “Stage Business'' showing Just
how to present the trick. This hai- never been explained
before and forms the mo*t Important part <»f tlo- trick.

IIOI'E THICKS SI ITAIH.I: FOR IMPHOMPTI PKHPOltM-
A \< B and for parlor or social entertainment: The Dlssolv-

P r Ing Knots; the Loop the Loop; the Ring on Cord; the

Knotted Cord; the Linking Ring; the Chefulo Vanishing
Knots; the Simplified Vest Turning Trick.

TIIE t> HEAT MASTER Oil Ml MM A TIE The sensational
concluding feat In which a committee from the audience

• ties the performer with 75 feet of rope In any manner their Uk

fancy dictates. Excitement runs high when this final chal- L
lengo feat Is staged. When tho audience are lit last con-
^ vlnced that the artist Is at last helplessly trapped — he makes
his escape in less lime than it look the committee to tie
him. Tills trick Is recognised as the Master Feat of the
Hope Manipulators' Art. It has never before been explained
In any publication nor has it been offered for sale.

iieinu tied in aw position— iiei no tied in a

A II AIR.

ClltlN DEPARTMENT -Siberian Chain Trick; Improved
Chain Releases; R. II. BEST Chain Release; B. H. Novel
Chain Release; Shackle Release. Mysto Shackle Escape;

B. H. Latest Shackle Release. The Three Spirit I^ock Models:
old Model Lock; New Model Spirit Lock; B. II. Model Spirit
Lock. Tho New Chained Sack Escape from Borrowed Sack.

TUB STILE METHOD OF THE HOOPS HOPE AND VEST
TRICK and how to have the hoops remain on the ropes or
fall off ut tho audience's selection.

33 Rope Tiesnnd Chain Releases (65 Illustrations), 75c. England, 3s 2d.

BURLING HULL’S
Bulletin No. 1

OF

“LATEST ADVANCED SLEIGHTS
AND IMPROVED TRICKS”

CONTAINING

The very latest tricks in pure Sleight-of-hand, impro
ved and perfected so that difficult moves are eliminated.

Burling Hull has achieved his reputation
as an instructor through devising orignal
sleights so ingenious that each forms a perfect
optical illusion in itself and is therefore less
difficult to excute.

SLEIGHTS

In his experience as a professional magi-
cian, as an inventor and as the only American
instructor in Manipulation Mr. Burling Hull
has devised a number of sleights, better count-
ed in series than individually and then the total
runs into the scores.

From these he has carefully selected mas-
ter sleights, which he believes are most need-
ed by the professional and amateur magician. These are so subtle in nature
that they form perfect optical illusions and thus require but the simplest me-
chanical movements, possible for anyone to execute as they deceive by their
inate cleverness rather than the skill of the performer, which is of secondary
importance.

PARTIAL LIST OF CONTENTS.

BULLETIN
LATEST 5IEIGHT &TRICKS

BURIJNG HULL

Printed on 100 lb. Enameled Art
Paper. 50 illustrations in Half-tone
and Line, from photos and drawings
prepared for this book. Limited issue.

1. The Handkerchief production from bare hands without apparatus or palming.

2. Another method of Handkerchief production from bare hands.

3. New False Shuffle executed by eudience.

4. The Super-Supreme Force. Perfected at last! 1 Any pack may be used and the performer
can allow a magician to select a card and even to change his selection after laying his hand on a
card, still it does not interfere with success 1 1 I

The Pass Surpassed

5. Startling impromptu trick with borrowed cards, easy for close work. This is so simple to
perform that Mr. Hull teaches it in the first lesson to his pupils, yet it baffles the keenest eye.

6. Burling Hull’s Climax Color Change. The only genuine change on a new principle. Per-
formed with fingers wide apart. A great success in the hands of the "White Wizard,” and would
be in yours as well 1 1 1 First time explained.

7. Wonder Pass (not really a Pass.) Cards placed in center of pack and elastic band placed
around pack. Card appears at any number called for. Everything operated slowly.

8. Various new tricks on the "Wonder Pass” principle.

9. "The Invisible Pass." The only pass devised that is (A) io»i«iblee even to the man who
knows the secret (a fact.) (B) physically impossible to make a noise with. This only becomes poss-
ible by using the new principle introduced. Devised by Burling Hull especially for his society en-
tertainments and used under the most difficult conditions. Works at two feet, one hand used.

10. One hand production of a thimble, (after showing both sides of hand) at finger tip.

11. A thimble vanish which you can operate a few inches from anyone’s eyes as slow as you
like— the nearer the better, and so subtle in principle that even the initiated cannot tell when you
intend to vanish it and when you do not! !

Many Other Valueable Sleights

Any one of the above tricks are worth more than the price of the book. Handsomely illustra-
ted by many photographs PRICE SOc. 2s. 2d.